CC BY
7
ISSN 2310-5666
Раздел 2. Музыкальное искусство Section 2. Musical arts
UDC 78.082.1 DOI: 10.29013/EJA-22-1-16-19
T. Y. DAVIDOVA 1
1 Uzbekistan State Conservatory, Tashkent, Uzbekistan
SYMPHONY GENRE IN THE ART OF TULKUN KURBANOV
Abstract. The article is devoted to the genre of symphony in the work of one of the brightest representatives of the Uzbek composer school - T. Kurbanov.
Objective: the study is purposed to analyze the composition, content features of the genre in the composer's work, as well as to identify the specific properties of T. Kurbanov's symphonic thinking.
Methods: the study used the methods that contribute to the disclosure of the object of study in its integrity: system-integrated, musical-theoretical, as well as methods of analysis and synthesis, comparison and generalization.
Results: the specific features of compositional structures and dramaturgy in the composer's symphonic opuses are analyzed, it is demonstrated how its various "variants" are formed from the same model of a classical symphony.
Scientific novelty: is in the fact that the symphonies of T. Kurbanov have not yet received their detailed enlightening in the analytical aspect. Understanding the processes of form making in T. Kurbanov's symphonies is important, since it allows to understand the compositional features of his symphonies and to better understand the author's intention, to point out the individual features of his symphony.
Practical significance: the main provisions and conclusions of the article can be used in university courses in the analysis of musical works and the modern musical form, as well as to assist conductors and performers of T. Kur-banov's symphonies.
Keywords: composer; creative activity; national culture; synthesis; symphony; genre; dramaturgy; concept.
For citation: T. Y. Davidova Symphony Genre in the Art of Tulkun Kurbanov // European Journal of Arts, 2022, №1. - С. 16-19. DOI: https://doi.org/10.29013/EJA-22-1-16-19
Introduction
The panorama of the Uzbek symphony of the second half of the 20 th century, representing various variants of the genre, both traditional and marked by individual vision of composers, is extensive and contradictory in all its multiformity. The significant number of composition works in this area is caused by the activation of creative thought. The symphonies of Tulkun Kurbanov in this regard seem to be very interesting
for us. Undoubtedly, the bright accomplishments in the field of symphonic music in the end of the 19 th century contributed to the fact that this genre in the 20 th century became associated with significant conceptual tasks, with the embodiment of high thoughts and ideas. Each of the composers was striving for self-expression, looking for an individual approach to the symphony [1; 2; 3]. Tulkun Kurbanov is not exception in this regard.
PREMIER
Publishing
ISSN 2310-5666
European Journal of Arts 1 (2022)
Section 2. Musical arts
Results of Research
Among the representatives of the symphonic art of our region, T. Kurbanov has established himself, first of all, as one of the "purest" symphonists. It is characterized by following the general principles of the classical genre model of symphony, but always in the individual author's reading, refraction. The composer was not among those authors who were distinguished by searches in the field of genre synthesis, which are very indicative of modern music.
Of the nine symphonies of the composer, three belong to the first, early period of creative activity: the First Symphony (1961), presented as the diploma work upon completion of the conservatory, the Second Symphony (1964) and the Third Sy mphony (1966) which is brightly national in its spirit. The remaining symphonies - the Fourth ("Dedicated to the Third World", 1975), the Fifth "Hamza", (1977), the effectively meditative Sixth (1985) and the tragic Ninth (2000) - were created in the mature period of creative activity1 Stylistically, they are apparently different from previous opuses. They are characterized by the expressiveness of the musical language, sharply dynamic principles of development, sharply modern means of expression and a tendency towards the so-called openness of form.
"Mismatch of the structure and semantics of the genre", characteristic, according to M. Aranovsky [1; 265], for the modern symphony, is very clearly manifested in the symphonies of T. Kurbanov.
A single constant model of symphonic cycle has not been established in the work of T. Kurbanov. The number of parts varies in his symphonies from one to four. In many symphonies, the tempo ratios of the parts also differ significantly. Nevertheless, the general expressive functions of the main components of the classical symphonic cycle or its reference points - sonata allegro, slow part, scherzo and finale are represented in one form or another in almost all of T. Kurbanov's symphonies. Let us refer to the spot-on statement of T. Livanova: "... the basic points of instrumental cycles, which have been outlined since the 17th century, not only retain their aesthetic role in the future, but, on the contrary, become the basis of a cyclic composition of a large plan" [4; 104].
The classical model of the genre is most fully sustained in the First and Second Symphonies. However, the composition of the cycles of these opuses is not built
according to any common plan, but corresponds to the individual concept of each of the works.
One of the nine symphonies by T. Kurbanov, the Third, is two-part one. Both parts complement each other well. The first is the sphere of thoughts, the sphere of philosophical lyrics. The second is a fast, cheerful dance finale by genre. Brightly national in its spirit, this part performs the function of scherzo. The reliance on the genres of the professional national heritage has accordingly influenced the peculiar interpretation of the European symphonic cycle, which is characterized by its bold renewal. The composition is a two-part composition traditional for professional monodic genres, reflecting the movement from slow concentrated music to bright genre, energetic, associated with dancing ufar (Uzbek type of play of dancing nature). The idea of a two-part cycle of the Third Symphony, which consists in an emphasized comparison of the two main principles of human essence - meditation and action - turned out to be very promising in the further development of many genres of Uzbek composer creativity.
The two symphonies by T. Kurbanov - the Sixth and the Seventh - are three-part ones. In the Seventh Symphony, the general expressive functions of all components of the classical symphonic cycle are presented generally: the first movement is Allegro assai, the second movement is Adajio, the finale is Allegro assai. The appeal to the three-part cycle here is connected with the displacement of scherzo.
But another three-part symphony by T. Kurbanov -the Sixth - differs significantly from the standard model. It has some common features with the symphonic cycles of D. Shostakovich: the slow and philosophically focused first movement (Andante) is a kind of reflection of life, the scherzo as the middle movement (Allegro assai). The ethical counterbalance to the rough and aggressive images of the middle part is the composer's dynamic finale -the result of the entire cycle (Allegro vivace energico). Hence, the dramatic line of development in the Sixth Symphony is directed from the subjective perception of life through grotesque to the objective positive ending. As O. Shmakova notes: "Such an 'internal movement of images' will form the essence of another type of sym-phonism <...> - we are talking about the meditative symphonism of composers of the twentieth century" [5; 101].
1 The Seventh and Eighth Symphonies were written for an orchestra of Uzbek folk instruments.
ISSN 2310-5666
A specific feature of the Sixth Symphony cycle is the absence of a "true" slow movement. The first movement is made at the Andante tempo, however, despite this, in general, all parts of the cycle are characterized by dynamic deployment, which is facilitated by the constant pulsation of the ostinato rhythmophone, which "opens up many fundamentally new possibilities for form-making" [6; 59]. Only in separate episodes of each movement, this rhythmic ostinato stops. Such "lyrical digressions", moments of contemplation and meditation in a distributed form implement the function of the slow part of the symphony. Meditativeness and active movement are the main components of the musical dramaturgy of the symphony. This type of composition gives rise to the influence of the traditions of monodic art in the work. In addition, the themes of all the slow and fast episodes of the symphony are related by intonation. It is important to emphasize the following. Among the "multi-level factors of the unity of the sonata-symphonic cycle, thematic connections between the parts stand out as the most prominent and effective uniting means" [7; 150]. As a result, there is a feeling of birth, as though, from a single sound grain - an embryo with further variant-variation transformation of the intonational sphere, creating the impression of improvisation nature, which is also typical of professional genres of national art.
In T. Kurbanov's Fourth, Fifth and Ninth symphonies, the number of parts is reduced. All of them are one-part, but the compositional solution of each of them is marked with the individualization of the solution in each specific case, that is, the formal construction cannot be brought to a certain type, "because it serves as the embodiment of this particular, unique, unique intent" [8; 147]. Thus, the composer wrote the Fourth Symphony in a free, open-circle form (development of the symphony leads to a general culmination, with which the composition ends), based on a combination of the principles of sonata form, fugue forms and regularities characteristic for professional genres of
monodic art. In this case, it is possible to draw analogies with "Metamorphoses" by Arif Melikov: "We have before us one of the examples of continual-contrasting dramaturgy, which has become especially widespread in the musical art of the 20th century, having adapted in a variety of genres, forms, and techniques of composer writing" [9; 42].
The Fifth Symphony is a synthesis of sonata form, tripartite nature and rondo form. The Ninth symphony was written in a contrast-composite form, where the characteristic features of several principles of formation are organically combined: rondo form, variant-variation development and regularities of developed genres of traditional heritage. How truly notes the musicologist V. Yunusova regarding the culture of the republics of the post-Soviet space, emphasizing "... the new stage in the development of the national layer of European-style music and the restoration of sometimes forgotten layers of traditional culture" [10; 23].
Despite the variety of structural solutions of the cycle in T. Kurbanov's symphonies, their dramatic solution has many common features. In the outcome of development, there is triumph of the forces hostile to human, embodied in a fierce, roughly mechanistic ostinato rhythmic pulsation, but they are opposed by the ethical self-affirmation of human personality in the general culminating point. Such a dramatic conception of development is especially characteristic of the composer's mature symphonies.
Conclusions
Thus, the T. Kurbanov's symphonies are distinguished by a variety of forms, individual compositional solutions based on the interweaving of different stylistic origins, which is a result of the interaction of various cultural traditions - classical European, traditional national, as well as the achievements of modern composer creativity. As a result, the composer's symphonies organically fit into the layer of symphonic music, which, according to M. Aranovsky's classification [1; 81], form an "alternative to the canon".
References
1. Aranovsky M. G. Simfonicheskie iskanija: Problema zhanra simfonii v sovetskoj muzyke 1960-1975 godov. Issledovatel'skie ocherki (Symphonic searches: The problem of the symphony genre in Soviet music of 19601975. Research essays).- Leningrad: Sovetskij kompozitor, 1979.- 287 p. (in Russian).
2. Aranovsky M. G. Simfonija i vremja (Symphony and time). Russkaja muzyka i XX vek. Russkoe muzykal'noe iskusstvo v istorii hudozhestvennoj kul'tury XX veka,- Moscow: Gosudarstvennyj institut iskusstvoznanija Min-isterstva kul'tury Rossijskoj Federacii, 1997.- P. 303-369. (in Russian).
Section 2. Musical arts - PRE_M|ER European Journal of Arts 1 (2022)
- ISSN 2310-5666 -
3. Janov-Janovskaja N. S. Teorija interteksta v ee proekcii na vostochnuju muzyku (na primere tvorchestva kom-pozitorov Uzbekistana) (The theory of intertext in its projection on oriental music (on the example of the works of composers of Uzbekistan)).- Tashkent: Musiqa, 2019.- 136 p. (in Russian).
4. Livanova T. N. Muzykal'naja dramaturgija I. S. Baha i ee istoricheskie svjazi. Ch.1. Simfonizm (Musical dramaturgy of I. S. Bach and its historical connections. Part 1. Symphonism) - Moscow - Leningrad: Muzgiz, 1948.231 p. (in Russian).
5. Shmakova O. V. O dvizhenii v simfonicheskom cikle (On the movement in the symphonic cycle),- Problemy muzykal'noj nauki, - No. 2. 2015. - P. 100-105. (in Russian).
6. Pankratov A. E. Ritmicheskoe ostinato i ego projavlenija v novoevropejskoj muzyke (Rhythmic ostinato and its manifestations in new European music),- Chelovek i kul'tura, - No. 2. 2018. - P. 52-59. (in Russian).
7. Karpenko V. E. Vidy tematicheskogo edinstva sonatno - simfonicheskih ciklov (Types of thematic unity of sonata - symphonic cycles),- Muzykal'naja akademija, - No. 1. 2018. - P. 150-155. (in Russian).
8. Grigor'eva G. V. Muzykal'nye formy HH veka (Musical forms of the twentieth century). - Moscow: Gumanitarnyj izdatel'skij centr Vlados, 2004.- 176 p. (in Russian).
9. Pazycheva I. V. Simfonicheskaja pojema "Metamorfozy" Arifa Melikova: k voprosam tematicheskogo edinstva i formoobrazovanija (Symphonic poem "Metamorphoses" by Arif Melikov: on issues of thematic unity and formation),- Muzykal'noe iskusstvo Evrazii. Tradicii i sovremennost', - No. 1. 2021. - P. 38-48. (in Russian).
10. Junusova V. N. Vzaimodejstvie kul'tur kak predposylka formirovanija muzykal'no - kul'turnogo prostranstva Evrazii (Interaction of cultures as a prerequisite for the formation of the musical and cultural space of Eurasia),-Muzykal'noe iskusstvo Evrazii. Tradicii i sovremennost', - No. 1. 2020. - P. 20-27. (in Russian).
Information about the author
Tatyana Yurevna Davidova, Candidate ofArt History, Associate Professor, Head of the Department ofMusic Theory,
State Conservatory of Uzbekistan
Address: 100031, Uzbekistan, Tashkent, Yakkasaray district, Yusuf Hos Hojib street, 20 A, apt. 45
E-mail: shot521@yandex.ru; Tel. +998(90) 901-77-10
ORCID: 0000-0003-1155-8846
